4. Ko͘-niû ná phû tī iā-sek lāi-té | 姑娘 ná 浮 tī 夜色內底

4. Ko͘-niû ná phû tī iā-sek lāi-té

Kiàⁿ lih hit-ê cha-po͘ ê bīn, kan-ta tī ba̍k-chiu thêng tī cha-bó͘ heng-chêng ê sî, chiah hián-chhut an-siâng koh pêng-chēng. Hi-jio̍k ê sin-thé, hi bóng hi, mā hiàn-chhut chi̍t-chióng an-lo̍k hô-hâi ê khì-hun. I kā ûi-kin ê chi̍t-thâu thiap tī thâu-khak ē, iáu chi̍t-thâu làng khui phīⁿ, si̍t-si̍t am tio̍h chhùi, koh pau tio̍h chhùi-phé, ná-chhiūⁿ chhùi-am án-ne. M̄-koh ûi-kin ū-sî lak lo̍h-lâi, a̍h sī khàm tio̍h phīⁿ, tī i ê ba̍k-chiu nih-ah-nih chìn-chêng, ko͘-niû tō koh un-jiû kā khiú hō͘ hó-sè. 

Nn̄g-lâng án-ne kāng-khoán ê tōng-chok, chi̍t-pái koh chi̍t-pái, khòaⁿ kah Shimamura kiâng boeh khí-siān. Iáu-ū, cha-po͘ khàm kha ê gōa-thò saⁿ-á-ki put-sî khui khì, sûi lo̍h, ko͘-niû mā sûi tō koh kā pau hō͘ hó. Che lóng hiah-nī chū-jiân, án-ne ê chu-thài hō͘ lâng ē siūⁿ-kóng, in nn̄g-lâng bô kám-kak ū kī-lī, kiâⁿ hiàng iâu-oán ê só͘-chāi khì ah. In-ūi án-ne, Shimamura khòaⁿ tio̍h che pi-chhiû ê tāi-chì, soah bē sim suiⁿ, ká-ná tih khòaⁿ bîn-bāng. Tāi-khài sī in-ūi chit-ê kî-miāu ê kiàⁿ ê iân-kò͘ pah.

Kiàⁿ-té ê hông-hun kéng-sek ná tih lâu-tāng, iā-tō-sī kiàⁿ-bīn ê siàng hām kiàⁿ āu ê si̍t-kéng ná tiān-iáⁿ ê tha̍h-iáⁿ tih kiâⁿ-tāng. Chhut-tiûⁿ ê jîn-bu̍t hām pōe-kéng pēng bô koan-hē. Jî-chhiáⁿ, jîn-bu̍t sī thàu-bêng ê, pōe-kéng sī àm-thâu lâu-tāng ê o͘-iáⁿ, chit nn̄g-hāng chham-lām chò-hóe, chiâⁿ-chò chi̍t-chióng sè-kan só͘ bô ê siōng-teng (象徵) sè-kài. Iû-kî sī, ko͘-niû ê bīn hō͘ soaⁿ-téng ê hóe chhiō tio̍h ê sî, hit-chióng kóng bē chhut ê súi, hō͘ Shimamura kám-kak kui-ê heng-khàm tih giâ-tāng.

Hūiⁿ-soaⁿ thiⁿ-téng iáu ū chhián-chhián ê âng-hê. Thàu-kòe thang-á po-lê khòaⁿ tio̍h ê kéng-tì, kàu hūiⁿ-hūiⁿ hêng-thé lóng iáu chheng-chhó, m̄-koh sit-khì sek-chhái. Iân-lō͘ kiâⁿ, pêng-hoân ê iá-gōa chu-thài oa̍t lú pêng-hoân, bô sáⁿ-mih ē ín-lâng chù-bo̍k, tian-tò ká-ná sī bó͘-chióng tōa kám-chêng ê lâu-tāng. Che, chū-jiân sī in-ūi kiàⁿ-lāi phû-hiān ko͘-niû ê bīn ê iân-kò͘. 

Kan-ta lâng-iáⁿ chhut-hiān ê ūi khòaⁿ bē tio̍h gōa-kháu, m̄-koh kéng-sek tī ko͘-niû sin-iáⁿ ê chiu-ûi bô-thêng tih tāng, hō͘ lâng kám-kak ko͘-niû ê bīn sī thàu-bêng ê. Kám sī chin ê thàu-bêng? Che put-kò sī chhò-kak, sī in-ūi ko͘-niû bīn-iáⁿ āu-bīn bô-thêng lâu kòe ê iā-kéng, ká-ná sī ùi yi ê bīn-thâu-chêng tih lâu, chù-ba̍k kā khòaⁿ, iū-koh bē khak-tēng. 

Hóe-chhia lāi ê teng bô kóng chin kuiⁿ, hêng-iáⁿ bô chin-ê kiàⁿ hiah bêng, mā bô hoán-siā. Chū án-ne, Shimamura khòaⁿ kah chhut-sîn, chiām-chiām bē-kì-lih kiàⁿ ê chûn-chāi, kám-kak ko͘-niû ká-ná phû tī lâu-tāng ê iā-sek lāi-té.

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4. 姑娘 ná 浮 tī 夜色內底

鏡 lih 彼个查埔 ê 面, 干焦 tī 目睭停 tī 查某胸前 ê 時, 才顯出安 siâng koh 平靜. 虛弱 ê 身體, 虛罔虛, mā 現出一種安樂和諧 ê 氣氛. 伊 kā 圍巾 ê 一頭 thiap tī 頭殼下, 猶一頭閬開鼻, 實實掩著喙, koh 包著喙 phé, ná 像喙掩 án-ne. 毋過圍巾有時 lak 落來, 抑是崁著鼻, tī 伊 ê 目睭 nih-ah-nih 進前, 姑娘 tō koh 溫柔 kā 搝予好勢. 

兩人 án-ne 仝款 ê 動作, 一擺 koh 一擺, 看 kah Shimamura kiâng 欲起 siān. 猶有, 查埔崁跤 ê 外套衫仔裾不時開去, 垂落, 姑娘 mā 隨 tō koh kā 包予好. 這攏 hiah-nī 自然, án-ne ê 姿態予人會想講, in 兩人無感覺有距離, 行向遙遠 ê 所在去 ah. 因為 án-ne, Shimamura 看著這悲愁 ê 代誌, 煞袂心 suiⁿ, ká-ná tih 看眠夢. 大概是因為這个奇妙 ê 鏡 ê 緣故 pah.

鏡底 ê 黃昏景色 ná tih 流動, 也 tō 是鏡面 ê 相和鏡後 ê 實境 ná 電影 ê 疊影 tih kiâⁿ 動. 出場 ê 人物和背景並無關係. 而且, 人物是透明 ê, 背景是暗頭流動 ê 烏影, 這兩項參濫做伙, 成做一種世間所無 ê siōng-teng (象徵) 世界. 尤其是, 姑娘 ê 面予山頂 ê 火炤著 ê 時, 彼種講袂出 ê 媠, 予 Shimamura 感覺規个胸坎 tih 夯動.

Hūiⁿ 山天頂猶有淺淺 ê 紅霞. 透過窗仔玻璃看著 ê 景致, 到 hūiⁿ-hūiⁿ 形體攏猶清楚, 毋過失去色彩. 沿路行, 平凡 ê 野外姿態越 lú 平凡, 無 sáⁿ-mih 會引人注目, 顛倒 ká-ná 是某種大感情 ê 流動. 這, 自然是因為鏡內浮現姑娘 ê 面 ê 緣故. 

干焦人影出現 ê 位看袂著外口, 毋過景色 tī 姑娘身影 ê 周圍無停 tih 動, 予人感覺姑娘 ê 面是透明 ê. 敢是真 ê 透明? 這不過是錯覺, 是因為姑娘面影後面無停流過 ê 夜景, ká-ná 是 ùi 她 ê 面頭前 tih 流, 注目 kā 看, 又閣袂確定. 

火車內 ê 燈無講真 kuiⁿ, 形影無真 ê 鏡 hiah 明, mā 無反射. 自 án-ne, Shimamura 看 kah 出神, 漸漸袂記 lih 鏡 ê 存在, 感覺姑娘 ká-ná 浮 tī 流動 ê 夜色內底.

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4.

The man's face in the mirror suggested the feeling of security and repose it gave him to be able to rest his eyes on the girl's breast. His very weakness lent a certain soft balance and harmony to the two figures. One end of his scarf served as a pillow, and the other end, pulled up tight over his mouth like a mask, rested on his cheek. Now and then it fell loose or slipped down over his nose, and almost before he had time to signal his annoyance the girl gently rearranged it. 

The process was repeated over and over, automatically, so often that Shimamura, watching them, almost found himself growing impatient. Occasionally the bottom of the overcoat in which the man's feet were wrapped would slip open and fall to the floor, and the girl would quickly pull it back together. It was all completely natural, as if the two of them, quite insensitive to space, meant to go on forever, farther and farther into the distance. For Shimamura there was none of the pain that the sight of something truly sad can bring. Rather it was as if he were watching a tableau in a dream--and that was no doubt the working of his strange mirror.

In the depths of the mirror the evening landscape moved by, the mirror and the reflected figures like motion pictures superimposed one on the other. The figures and the background were unrelated, and yet the figures, transparent and intangible, and the background, dim in the gathering darkness, melted together into a sort of symbolic world not of this world. Particularly when a light out in the mountains shone in the center of the girl's face, Shimamura felt his chest rise at the inexpressible beauty of it.

The mountain sky still carried traces of evening red. Individual shapes were clear far into the distance, but the monotonous mountain landscape, undistinguished for mile after mile, seemed all the more undistinguished for having lost its last traces of color. There was nothing in it to catch the eye, and it seemed to flow along in a wide, unformed emotion. That was of course because the girl's face was floating over it. 

Cut off by the face, the evening landscape moved steadily by around its outlines. The face too seemed transparent-but was it really transparent? Shimamura had the illusion that the evening landscape was actually passing over the face, and the flow did not stop to let him be sure it was not.

The light inside the train was not particularly strong, and the reflection was not as clear as it would have been in a mirror. Since there was no glare, Shimamura came to forget that it was a mirror he was looking at. The girl's face seemed to be out in the flow of the evening mountains.

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